Page:A Dictionary of Music and Musicians vol 3.djvu/493

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SHAKE.

481

Bach, Sonata for PF. and Flute, No. 6.

${ \mark "8." \time 3/4 \key e \major \partial 4. \relative b' { b8 gis a\trill | b dis e b r16 cis dis e } }$

It is also customary to begin with the principal note when the note bearing the shake is preceded by a note one degree above it (Ex. 9), especially if the tempo be quick (Ex. 10), in which case the trill resembles the Pralltriller or inverted mordent, the only difference being that the three notes of which it is composed are of equal length, instead of the last being the longest (see vol. ii, p. 364).

Bach, Organ Fugue in F.

${ \mark "9." \time 4/4 \clef bass \key f \major \relative f { f1 | e2 ees | d bes' ~ | bes a | g1\trill | << { c1 } \\ { f,4 g a2 } >> \bar "||" } }$

Mozart, Sonata in F.

${ \mark "10." \tempo \markup \italic Allegro \key f \major \time 3/4 \relative c'' { <c a f c>4 <c a> q | q4. d16 c bes\trill a g f \bar "||" q4.^\markup \italic "Played." d'16 c \tuplet 3/2 { bes32 c bes } a16 g f \bar "||" } }$

If however the note preceding the shake is slurred to it (Ex. 11a), or if the trill note is preceded by an appoggiatura (Ex. 11b), the trill begins with the upper note; and this upper note is tied to the preceding note, thus delaying the entrance of the shake in a manner precisely similar to the 'bound Pralltriller' (see vol. ii. p. 364, Ex. 13). A trill so situated is called in German der gebundene Triller (the bound trill).

Bach, Concerto for two Pianos.

${ \mark "11. (a)" \time 12/8 \key ees \major \relative e'' { ees16 f ees d ees f g aes g f g aes ees4.( d4)\trill ees8 } }$

${ \tempo \markup \italic "Played." \time 12/8 \key ees \major \relative e'' { \override TupletBracket.bracket-visibility = ##f \hideNotes e4. e \unHideNotes ees4. ~ \tuplet 6/4 8 { ees32^([ d ees d ees d] ees[ d ees d ees d]) } c8 } }$

Haydn, Trio in E minor.

${ \new Staff << \mark "(b)" \key e \minor \time 4/4 \override Score.Rest #'style = #'classical \new Voice \relative d'' { \stemUp dis4. e16 fis e4-. b-. | \appoggiatura d! c2\trill b4 b' } \new Voice \relative a' { \stemDown r4 <a c> <g b> r | r <g e> <fis dis> r } >> }$

${ \new Staff << \tempo \markup \italic "Played." \key e \minor \time 4/4 \override Score.Rest #'style = #'classical \new Voice \relative d'' { \stemUp s1 | d!4 ^~ d32 c d c d c d c b4 b' } \new Voice \relative g' { \stemDown s4 s s s | r4 <g e> <fis dis> r } >> }$

When the note carrying a shake is preceded by a short note of the same name (Ex. 12), the upper note always begins, unless the anticipating note is marked staccato (Ex. 13), in which case the shake begins with the principal note.

Bach, Chromatic Fantasia

.

${ \mark "12." \key f \major \time 4/4 \relative b' { <bes f d>4 ~ bes32\noBeam bes c d d16.\trill c64 d ees16 a,32 bes bes16.\trill a64 bes c16\noBeam } }$

${ \tempo \markup \italic "Played." \key f \major \time 4/4 \relative b' { <bes f d>4 ~ bes32\noBeam bes[ c d] ees64[ d ees d ees d c d] ees16[ a,32 bes] c64[ bes c bes c bes a bes] c16 } }$

Mozart, Sonata in C minor

.

${ \mark "13." \key c \minor \time 2/2 \relative e'' { ees8-![ ees-!] ees\trill d16 ees f8-![ f-!] f\trill ees16 f \bar "||" ees8-![^\markup \italic "Played." ees-!] \tuplet 3/2 { ees16[ f ees } d ees] f-![ f-!] \tuplet 3/2 { f16[ g f } ees f] } }$

In modern music, when a trill beginning with the subsidiary note is required, it is usually indicated by a small grace-note, written immediately before the trill-note (Ex. 14). This grace-note is occasionally met with in older music (see Clementi, Sonata in B minor), but its employment is objected to by Türk, Marpurg, and others, as liable to be confused with the real appoggiatura of the bound trill, as in Ex. 11. This objection does not hold in modern music, since the bound trill is no longer used.

Beethoven, Sonata, Op. 53, Finale.

$\new Staff { << \mark "14." \time 2/4 \new Voice \relative g'' { \stemUp g4 g | \slashedGrace a8 g2\startTrillSpan } \new Voice \relative g { \stemDown g16 b d b g c ees c | g b d b g c e! c } >> }$

Immediately before the final note of a shake a new subsidiary note is generally introduced, situated one degree below the principal note. This and the concluding principal note together form what is called the turn of the shake, though the name is not strictly appropriate, since it properly belongs to a separate species of ornament of which the turn of a shake forms in fact the second half only.^[1] [See Turn.] The turn is variously indicated, sometimes by two small grace-notes (Ex. 15), sometimes by notes of ordinary size (Ex. 16), and in old music by the signs of a vertical stroke, a small curve in a downward direction, or a regular turn, added to the ordinary sign of the trill (Ex. 17).

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Clementi, Sonata in C.

${ \mark "15." \key ees \major \time 2/4 \relative g'' { g16[ g] g32[ bes ees g] ees,16[ ees \afterGrace f8]\trill { ees16[ f] } | ees8 } }$

Handel, Gigue (Suite 14).

${ \mark "16." \key g \major \time 12/8 \relative g' { g8 d g g4(\trill fis16 g) a8 d, a' a4(\trill g16 a) } }$

${ \mark "17." \override Score.TimeSignature #'stencil = ##f \time 6/4 \key g \major c''\prallmordent s c''\pralldown s c''\prall s16\turn \bar "||" }$

For the sake of smoothness, it is necessary that the note immediately preceding the turn should be a principal note. In the shake beginning with the upper note this is the case as a matter of course (Ex. 18), but in the modern shake an extra principal note has to be added to the couple of notes which come just before the turn, while the speed of the three is slightly quickened, thus forming a triplet (Ex. 19).

↑ The turn of a trill is better described by its German name Nachschlag or after-beat.

[1] The turn of a trill is better described by its German name Nachschlag or after-beat.

[1]